In the American cultural imagination, the Wild West is a mythic-historical place where our nation’s values and ideologies were formed. The heroes of this dangerous world, most familiar to us through ...
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In the American cultural imagination, the Wild West is a mythic-historical place where our nation’s values and ideologies were formed. The heroes of this dangerous world, most familiar to us through film, are men of violence who fight the bad guys as they build the foundations of civilization out of wilderness, forging notions of justice, manhood, and honor in the process. In the Greco-Roman societies that are America’s cultural ancestors, epics provided similar narratives: like Western film, Homer’s Iliad and Odyssey and Virgil’s Aeneid focus on the mythic-historical past and its warriors, men who helped shape the ideological frameworks of their respective civilizations. At the same time, the best works from both genres are far from simplistic, but instead, call the assumptions underlying society’s core beliefs and value systems into question even as they promote them. Cowboy Classics examines the connections between these seemingly disparate yet closely related genres by first establishing the broad generic parallels and then providing deeper analysis through case-studies of five critically acclaimed Golden Age Westerns: Howard Hawks’s Red River, Fred Zinnemann’s High Noon, George Stevens’s Shane, and John Ford’s The Searchers and The Man Who Shot Liberty Valance. In the end, this important comparison allows the American Western to serve as a lens through which to better understand the more remote works of antiquity, while identifying epic patterns in film provides the distance that allows us to see Westerns, in whose ideological undercurrents we are more directly implicated, in a more objective light.Less

Cowboy Classics : The Roots of the American Western in the Epic Tradition

Kirsten Day

Published in print: 2016-07-01

In the American cultural imagination, the Wild West is a mythic-historical place where our nation’s values and ideologies were formed. The heroes of this dangerous world, most familiar to us through film, are men of violence who fight the bad guys as they build the foundations of civilization out of wilderness, forging notions of justice, manhood, and honor in the process. In the Greco-Roman societies that are America’s cultural ancestors, epics provided similar narratives: like Western film, Homer’s Iliad and Odyssey and Virgil’s Aeneid focus on the mythic-historical past and its warriors, men who helped shape the ideological frameworks of their respective civilizations. At the same time, the best works from both genres are far from simplistic, but instead, call the assumptions underlying society’s core beliefs and value systems into question even as they promote them. Cowboy Classics examines the connections between these seemingly disparate yet closely related genres by first establishing the broad generic parallels and then providing deeper analysis through case-studies of five critically acclaimed Golden Age Westerns: Howard Hawks’s Red River, Fred Zinnemann’s High Noon, George Stevens’s Shane, and John Ford’s The Searchers and The Man Who Shot Liberty Valance. In the end, this important comparison allows the American Western to serve as a lens through which to better understand the more remote works of antiquity, while identifying epic patterns in film provides the distance that allows us to see Westerns, in whose ideological undercurrents we are more directly implicated, in a more objective light.